DiscussWorldIssues - Socio-Economic Religion and Political Uncensored Debate - View Single Post

**infarrelisam** · 02-12-2012, 02:07 AM

Seriously? They are hardly the first people to write a song with no chorus so what's your point?

They introduced a nascent genre to the world while being one of the very few songs as of their time to not have a chorus. How significant is this? Their popularization of rap and hip hop was clearly far more significant but the structure, the lack of a build, the scarcity of 'architecture' is compelling:

Sure, Wonder Mike spins a variation on his opening scat about a third of the way through the record’s 15-minute span, but musically, the only form in evidence is a repeated 16-bar loop lifted from Chic’s number-one hit “Good Times” - eight bars of Bernard Edwards’ bass, eight bars of funky rhythm guitar and piano, over and over and over again. No separation into verse and chorus, no buildup to the release of a collective sing-along.

Pop music had produced the occasional chorus-less song - Jimi Hendrix’s blues-based “Purple Haze,” for example, or through-composed tableaux like Roy Orbison’s “In Dreams.” But “Rapper’s Delight,” spooling out over the simple machine of its backing track, was something else: fluid dynamics instead of architecture.

02-12-2012, 02:07 AM	#14
infarrelisam Join Date Oct 2005 Posts 428 Senior Member	Seriously? They are hardly the first people to write a song with no chorus so what's your point? They introduced a nascent genre to the world while being one of the very few songs as of their time to not have a chorus. How significant is this? Their popularization of rap and hip hop was clearly far more significant but the structure, the lack of a build, the scarcity of 'architecture' is compelling: Sure, Wonder Mike spins a variation on his opening scat about a third of the way through the record’s 15-minute span, but musically, the only form in evidence is a repeated 16-bar loop lifted from Chic’s number-one hit “Good Times” - eight bars of Bernard Edwards’ bass, eight bars of funky rhythm guitar and piano, over and over and over again. No separation into verse and chorus, no buildup to the release of a collective sing-along. Pop music had produced the occasional chorus-less song - Jimi Hendrix’s blues-based “Purple Haze,” for example, or through-composed tableaux like Roy Orbison’s “In Dreams.” But “Rapper’s Delight,” spooling out over the simple machine of its backing track, was something else: fluid dynamics instead of architecture.
	Quote